For all the similarities between these two posters, it’s important to note that their central logos are fundamentally opposite.
Steven Spielberg’s old-school insta-contender has its own inherent, frontrunner-battling virtues to get behind.
The poster knows its movie’s milieu, its genre, and its character’s superficial appetite for, well, everything.
The youthful, labyrinthine mind in which it places viewers feels less like an offbeat vehicle for healing than it does a kaleidoscopic prison.
A Best Actress nomination for Mara doesn’t seem likely, either, even with the Golden Globe nod and handful of critics’ honors she’s got under her studded belt.
Albert Nobbs is a headline-grabber that never transcends its gimmick, trying so hard to be socially humane that it forgets to be human.
It’d be easy to cynically dismiss Jolie’s on-cue reactions as mugging for the cameras.
Don’t let those pretty faces fool you.
Where Allen is sure to perform well is in the Best Original Screenplay category, where he’s been nominated a total of 14 times.
Meryl Streep delivers multiple scenes of fierce, brilliantly overacted mimicry capable of reducing the whole theater to a wowed hush.
Unwieldiness seems to follow Madonna’s W.E. wherever it goes.
J.C. Chandor is able to mine potent workplace drama, and pluck tender nerves that are widespread among the current populace.
David Gordon Green’s latest could fool you into thinking it was written, shot, and edited in the same week, so lazy and unrefined are its narrative and construction.
With Young Adult, her third feature as screenwriter, Diablo Cody constructs a woman out of pieces of herself.
Alfredson’s and Straughan’s dialed-back, demure technique was also adopted by Oldman and Firth for their performances.
In a sense, the posters are highly successful, as they very accurately communicate the text, weaknesses and all.
Answers to Nothing is tasteless and out of touch right down to its foundation.
This season presents two Oscar contenders, Hugo and The Artist, that both bask in the dreaminess of cinema’s early days.
The poster is an intentionally drab pseudo-fusion of a milk carton ad and a supermarket service flyer.
The actor makes a lasting impression, the sort that leaves you itching to Google him. And that’s just in Round 1 of his breakout year.